State of Reggae Music 2013

How do you feel about where Reggae Music is at? Internationally? Nationally? Locally.

Personally with the rise of artist like Chronixx y Zinc Fence, Protoje and The Indiggnation, Kabaka, Kelissa, Jah 9, Jesse Royal etc I feel like reggae music has done a 360 in many ways. I don't really know where it was headed but I like the idea of artist coming back to the foreground and producers going to the back. What is wild to me is that in many ways it has been producers (at least one Don Corleon) while producing "what people wanted to hear) have always kept Roots reggae music "breathing". Now that people seem to want to hear people who actually sing and play instruments this is what we are getting. This is obviously an over simplification but a critique none the less.

While my ears have and remain tuned into the more rootsie and heartical music within the genre. Perhaps this trend could be a result of these bands relentless touring. Many of them go on a national tour comprised of ~50-60 dates every season eg: Winter, Spring, Summer, & Fall and in doing so continue to build their fan bases.

I sure wish some of the Caribbean and European artists would tour the US much more and expose the youth to their music and message.

QuoteMikey J.
While my ears have and remain tuned into the more rootsie and heartical music within the genre. Perhaps this trend could be a result of these bands relentless touring. Many of them go on a national tour comprised of ~50-60 dates every season eg: Winter, Spring, Summer, & Fall and in doing so continue to build their fan bases.

I sure wish some of the Caribbean and European artists would tour the US much more and expose the youth to their music and message.

Mikey J.

Too often, visa and other immigration issues make it a challenge for these artists to come to America and work.

be straight... Many of these artists have sketchy past that are the reasons they can't get into the US. I don't just mean legal sheet. If you are a US citizen you can get away with certain things. IF you are not it is up to the "judges". NEVER leave it in the hands of the judges. They will get you everytime. They could care less if someone from a foreign land is denied an opportunity. Post 9/11 things changed for a whole bunch of people when it comes to getting into the US. It started to be treated as a reward vs normal business travel. IF you come from an island in the Caribbean, you are screwed. Why? because you government doesn't do enough legal business with the States to purchase your way in. It is simply easier for a German to come here than it is for a Jamaican. Why? Because people sterotype and discriminate.

Chronixx puts Rastafarianism back into Jamaican reggae
Dancehall's brash braggadocio isn't the only sound coming out of Kingston, something that Diplo has been

Long before Snoop Lion was an unripe bud-dream in Snoop Dogg's bizong, Rastafarians were influencing and shaping Jamaica's notoriously prolific musical output. Count Ossie teamed up with the Mystic Revelation Of Rastafari (a Rastafarian drumming group), who provided the percussion for his 1962 ska prototype Oh Carolina (the same one that Shaggy sexed up in 1993). Meanwhile, acts such as Peter Tosh, Burning Spear, Dennis Brown, the Congos, Beres Hammond – plus some bloke called Bob Marley – all made sure Rasta culture remained synonymous with reggae music.

But dancehall's emergence in the 80s and 90s started to make roots and Rasta seem past it. Weed was replaced with cocaine as the drug of choice, traditional live takes of songs were usurped by computer-programmed instrumentation, and the message of a Rasta "Ital" lifestyle was ditched for brash braggadocio, face bleaching and dance crazes that mixed sexual contortionism with WWE moves (daggering).

But Rasta roots were never going to go quietly into the Kingston night, and now 21-year-old Chronixx (né Jamar McNaughton) has emerged as the figurehead of its latest revival. Son of roots head Chronicle, he was making tracks for dancehall royalty such as Konshens before he was out of his teens. But after playing at Usain Bolt's Tracks & Records restaurant, it was Chronixx's own take on the roots sound that was touted as the jump-off point for a "musical revolution" in his home country.

Along with artists such as Proteje and Jah9, he's set about toppling dancehall's hegemony and filling the void left by Vybz Kartel (who's still in prison) and Mavado (who's still trying to make it in America). Mixing anti-war messages, calls for equality and using a live band, Zinc Fence Redemption, Chronixx is modernising reggae staples and breathing new life into the roots reggae movement. That might all sound a bit self-righteous but, like Damien Marley, he manages to marry the snarling attitude of dancehall with lyrics about social cohesion in a way that doesn't make you nod off. He soon caught the eye of reggae-culture magpie Diplo, who put out Chronixx's Start A Fyah mixtape under the umbrella of his Major Lazer project.

Chronixx isn't just content to harp on about Rasta life though; he takes aim at those who promote vacuous poppy dancehall, such as Vybz Kartel's former bezzy mate, Popcaan. Chronixx took him to task on his 90s ragga throwback tune Odd Ras, where he literally told him to pull his pants up and made it clear he wasn't interested in new trends such as tattooing or face bleaching. Snoop Lion might claim to be "born again", but Chronixx is dishing out lessons in the real three Rs: Rasta, and roots reggae.

No disrespect to Chronixx, I don't know that I agree that Chronixx put Rastafari back into reggae. I agree that the Reggae Revival of young educated youths, many coming from well known musical families, have made a bigger impression due to their collective and supportive efforts. They are talented and are putting out some serious music. The three radio shows I have featured recently covered the artists of the RR.

The American market is what is hurting. Europe will pack the festivals and venues, no problem. The USA needs serious a serious reboot. It would take a collective of reggae supporters to make this happen. California certainly has played the biggest role but the rest of the US needs to emulate the energy Cali brings to the nation.

By the way, don't forget Iba Mahr, Raging Fyah, Pentateuch, as part of the growing collective!

The American market is what is hurting. Europe will pack the festivals and venues, no problem. The USA needs serious a serious reboot. It would take a collective of reggae supporters to make this happen. California certainly has played the biggest role but the rest of the US needs to emulate the energy Cali brings to the nation. !

Greetings Sista Irie, Yes, this is one of the reasons I frequent the SNWMF phorum, respect everytime.
Hopefully one day I (or ones in this geographic area) can forward with more solid offerings towards this "collective" in terms of providing more consistent routing and additional venues in the south, to make this region more supportive for artists on U.S. tours. Several artists tend to travel from Austin to New Orleans en route to St. Louis. There is a lot of space in between with lots of potential, including Baton Rouge, Jackson, MS and Memphis, TN. I've mentioned this before but until I get past this student wage, there is not much I can offer besides a voice. All things in time.

Nuff respect to all supporters and doers within the community.
Jah Bless,

Mark, your comments and input is most appreciated. I hope one day in the US there can be another organization similar to RAW pulling all the serious interested parties together to help make those things such as dependable routing, honesty, integrity and consistent support by fans jumpstart what was once a more lucrative environment in the US. We need our own reggae revival!

The difficulty for artists to get work visas in the US is the main hindrance. Add in their own tendency to not pay taxes either to their visiting or home country and it's on a lot more than the fans to make reggae more prominent in the USA.

True, Chimino- but fans are made up of all professions including Entertainment Attorneys. I think everything is possible but it takes a unifed group setting standards for performances, artists and promoters and working with government entities to reduce the issues that create the negative law enforcement. Could be a long road but well worth it. There are still plenty artists who can get into this country- granted the visa can take a long time but that is where early organization can withstand the demands of the system.

In my opinion the recording industry aspects of Reggae (i.e. record sales) are at an all time low. It is true that the global recording industry has suffered great losses in physical sales that have not yet been made up by increased digital sales and new income streams. I do however think that sales of recorded Reggae music seem to have fallen way more than sales of other genres. I would therefore say that Reggae is in a VERY BAD state locally, nationally and internationally when it comes to record sales.

In terms of touring and live performances, I think Reggae is in a better place today than it has been for the past 15 - 20 years, due mainly to the emergence of a new group of young musicians and vocalists who are writing, producing, and performing great songs, and delivering their live presentations with REAL musicians on stage. Its called the Reggae Revival by many. This resurgence of Roots Reggae music has caught fire inside Jamaica and is being spread and embraced throughout Europe. The USA still appears however to be lagging behind.

I think there are numerous issues that continue to affect the state of Reggae in America. For sure easy access to allow for constant touring is definitely a major challenge, and is due mainly to stringent visa requirements. I also do think that negative stereotyping of artists and managers from Jamaica and the Caribbean is an issue that needs to be addressed.

The USA remains the largest single market for popular music (as a country), and also one of the most important markets. It is however by no means the only market in which Reggae can be a viable business. I do agree with Sista Irie that there is need for more organization and business networking between like-minded Reggae music enthusiasts in the USA with the objective of increasing awareness and bringing more professionalism to the way we market and present Reggae.

QuoteSista Irie
The American market is what is hurting. Europe will pack the festivals and venues, no problem. The USA needs serious a serious reboot. It would take a collective of reggae supporters to make this happen. California certainly has played the biggest role but the rest of the US needs to emulate the energy Cali brings to the nation. !

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Reggae grooves infused with jazz, rock, soul and funk flavors. Christian KRSNA Czingula sings original vocals in a potent style with intricate, vigorous piano lines and insightful lyrics. The band includes Michael George Gonzalez on guitar and Robby Albrecht on drums. http://www.facebook.com/krsna.band/app_2405167945

The sound of BlueFlags & BlackGrass can be summed up as Modern American Skiffle. It combines JugBand and RagTime of the '20s and '30s with BlueGrass, Viper Jazz and a hint of Irish/Gypsy twang. BFBG was born around the spring of '11 in Portland, Oregon. Depending on the players for the evening, BFBG's sound can be more of the jug/ragtime contingent or on the side of the gypsy-swing/bluegrass flavor....regardless...it's good stuff. www.blueflagsandblackgrass.com

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Since his debut release The Rebirth, Madgesdiq has continued to evolve as an artist. Each of his albums, which include the self-titled Madgesdiq, I Wanna Be Free, and Rastamerica (his latest and most personal album to date), illustrate the portrait of a man who continues to bring rhyme to his inspiration and inspiration to his rhyme, while at the same time carving his own niche, delivering simple, honest and moving stories that live within and throughout what he fittingly terms “Evolution Music, music that causes one to grow.”

Previously known more for his feathery jump shot than his poetic flows or head of locks, this charismatic figure who once played alongside Dikembe Mutombo and Alonzo Mourning at Georgetown University, starred at the University of Oregon, and played professionally in places such as Brazil and Portugal, has since crossed over and now finds himself in a different arena sharing the stage and/or collaborating with such Hip Hop and Reggae living legends as KRS-ONE, Chuck D and Steel Pulse, saxophone extraordinaire and Grammy Award nominee Mike Phillips, K’naan and the modern day prophetic sounds of Midnite. He has also appeared on “Lyric Cafe”, which aired on BET J and was chosen to be the opening speaker for the National Poetry for Therapy Convention held in Portland Oregon in 2008. Using the stage as his court, the 6’3” Oregon native attacks the microphone with the same assertiveness, versatility, intelligence and instinct that he would use if he were breaking down a would be defender who attempted to stop him from scoring. His flow is naturally smooth, his body language athletically fluid, his energy infectious and his message simple but profound: “Be Free, Do You and Love Life”.

When it comes to truth that shines an undeniable light through eloquent lyricism and ordered steps, you need not look any further than Madgesdiq. In him, you find an engaging personality destined to touch the lives of many, all while staying true to who he is and doing what he loves, inspiring others to do the same. https://www.facebook.com/madgesdiq

Deena B, is the ‘Soundbox’ (Saturdays, 10 pm to midnight) DJ at KBOO Community Radio. Deena has been DJ-ing for 10 years but has only been an international spy for 2. When she's not rocking the party - she watches kitten renditions of "locked in the closet" pts 3 and pt 5. That is all. https://www.facebook.com/deenab1

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Old Growth SoulJourner, Conscious HipHop Roots Reggae, Kung fu dreadlock, water dragon cauldron!
Mixing up the full flavor authentic seasoning. Book Of Matches the album will be arriving Early November!! Step into the Tao! https://www.facebook.com/oldgrowthsouljourner

Hillary ‘Instigatah’ Bryan was raised in the combination of The Marshall Islands, Memphis and Chicago. Currently she is an active dub poet, dj, producer, & sound engineer living on the west coast. At the age of 5years old Hillary began her training in classical piano, acoustic guitar, choir; as well as classical ballet, jazz, modern dance and fine arts (drawing/painting/sculpting). She began working within activism with groups such as Student Environmental Action Coalition (S.E.A.C.) and Green Peace as early as thirteen years of age.

In Chicago at the age of 16, she began working with various production/promotion companies on live shows, and at 17, started working with Southport Records & Sparrow Sound Design; the second oldest-still producing jazz label in Chicago and an affiliate recording studio. She conducted engineering and record production for Sparrow Sound Design 99'-05'. She worked for Southport Records for 11 years before relocating to San Francisco and then to Portland, Oregon. Her debut performance was during the first Conjugate Project event (Chicago) on Hubbard, followed by guest spots at The Double Door (legendary Chicago venue) & Sub T. When she was just 17, she opened her own PR firm and marketing agency with the desire to promote artists and support the vast talent available in Chicago. Hillary is currently located in Portland, Oregon having just released her debut album “Soul Soundz - Dub Poetry” an urban mediation CD released on the Chicago indie label: Southport Records. https://www.facebook.com/darlinginstigatah

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Like many reggae musicians who came of age in the late 1960s and early '70s, Clinton Fearon was a country boy who migrated to Kingston as a teenager in order to seek his musical fortune among the proliferating studios and sound systems of the big city. He was born in St. Andrew in 1951 and moved around the countryside with his father and stepmother before relocating to Kingston in 1967; he immediately organized a singing group with some friends, but it never amounted to anything and broke up before it could record. It was around 1970, when he joined Albert Griffiths and Errol Grandison to form the Gladiators, that he hit his stride as a musician and began what would be the most significant and commercially successful association of his career. Grandison quit the group fairly early in its career and was replaced by Gallimore Sutherland and with this lineup, the Gladiators became mainstays at the famous Studio One, where they recorded highly religious songs of their own as well as backing up such top-ranked artists as Stranger Cole and Burning Spear. Around 1974, the group began working with the infamous Lee "Scratch" Perry at his Black Ark studio, where again they recorded on their own as well as backing up other artists, notably the enigmatic singer Vivian "Yabby U" Jackson. Fearon, who by this time was an accomplished bass player as well as a gifted singer and songwriter, was put to especially heavy use in the studio, recording numerous bass lines for other artists and rarely getting any credit, or even regular payment for his services. His bass is the one heard on Perry's strange and wonderful "Roast Fish and Cornbread," as well as many other Black Ark recordings for which the session notes are long gone. In the late '80s he emigrated to the United States, settling in Seattle, where he organized the relatively short-lived Defenders band. The group recorded one EP before breaking up. In 1993, he formed his current ensemble, the Boogie Brown Band, which has recorded four albums: Disturb the Devil, Mystic Whisper, What a System, and Soon Come. Clinton has also recently released a couple acoustic, solo albums to much acclaim. For Dec 5 Bassie will be performing his solo, acoustic set. http://www.clintonfearon.com/

Sprouted in the fertile ground of Portland, Oregon in 2008, ROOTS TRAIN SOUNDS was brought forward originally by Elijah Roots (Fari) in a podcast format for a couple of years entertaining people across the world with the latest new roots riddims and especially 70s/80s OLD SCHOOL ROOTS sounds from Jamaica. The podcast lasted for 3 years; building an international audience by spreading reggae consciousness to the people. During this time Roots Train Sounds has done several guest DJ appearances at Portland's KBOO community radio, regional festivals and shows. These days Roots Train Sounds serves the community by promoting touring artists and bands; doing promotion and supporting them by playing the music which is the foundation of the roots reggae genre.
https://www.facebook.com/pages/Roots-Train-Sounds/169524896413430

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Sol Seed brings a distinct sound combining the best elements of Reggae, Rock, Hip Hop and Psychedelic Jam to form a positive musical fusion that is uniquely their own. With conscious, thought-provoking lyrics, infectious reggae-laden grooves and high-energy, impressive live performances, Sol Seed creates an unforgettable live-music experience for people of all ages to enjoy.

Since transplanting to Eugene from Southern Oregon just over two years ago, Sol Seed has swiftly gained powerful momentum in the NorthWest music scene, creating a diverse and loyal fan base all over Washington, Oregon and California. They were awarded Eugene WOW Hall Awards "Best New Act" 2011 and "Favorite Local Band" 2012, in addition to "Eugene's Best Band 2012-2013" by Eugene Weekly readers. Dominating the NW summer festival circuit including Oregon Country Fair, North West World Reggae Festival and Jefferson State Hemp Expo, Sol Seed has also shared the stage with national acts such as Ziggy Marley, Slightly Stoopid, The Expendables, Pacific Dub, Nappy Roots, Heavyweight Dub Champion and many more.
After a number of small EP releases, the group released their first full-length album "Grown Deep" in September 2012, which immediately gained air-time on a number of radio stations all over the West Coast as well as the Hawaiian islands.

This Oregon based band got their start in early 2010 when songwriters Michael Lennon and Michael Sorensen joined hands with fellow friend and musician Benny Pezzano through a Southern Oregon open mic. An undeniable synergy was all but tangible as their creative forces coalesced, and they immediately began to grow a diverse collection of original music. They soon joined with Native American Award winning guitarist, Kenny Sequoia Lewis, and in October 2010, transplanted to Eugene to pursue life and music, where soon after they linked up with MC, Didgeridoo player and percussionist Sky Guasco, and finally Saxophone player Graeme Pletscher in late 2011. With 6 members, each member boasting very different influences and skill sets, Sol Seeds depth and volume of sound increased exponentially.
With an infectious enthusiasm for life and an unequivocal knack to communicate its beauty, the group shares their message of perspectivism and unconditional love through uplifting music rooted in the soul. Sol Seed has certainly dug their roots. Coming to a city near you! http://www.solseedmusic.com/

Matt Haze is a riddle wrapped in an enigma, covered in stylish facial hair. One of the most forward-thinking and current DJs in the SF scene, Haze is a treasure trove of musical versatility. Rubbing today’s flavors with a marinade of cutting edge beats and old school vibes, Haze is difficult to classify, but impossible to resist. He is best known for his work with SF’s Slayers Club collective, dropping his crazily eclectic kitchen sink sets wherever the spirit carries him and the bassbins follow. http://www.djmatthaze.com/

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ras danny
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